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Message KS4 Music - Rationale & Specification KS4 students follow the specification for the AQA GCSE Music syllabus (8271). Developing and applying the musical knowledge, understanding and skills set out in AQA's GCSE specification ensures students form a personal and meaningful relationship with music. They will be encouraged to engage critically and creatively with a wide range of music and musical contexts and reflect on how music is used in the expression of personal and collective identities. The subject content is divided into the three components: ✓ Understanding music ✓ Performing music ✓ Composing music https://www.aqa.org.uk/subjects/music/gcse/music-8271/specification-at-a-glance Students develop their performing skills through individual tuition with a specialist teacher on their chosen instrument (or voice), through class performing activities and through participation in extracurricular activities (both in and out of school). Students’ composing skills will also be developed gradually throughout the course, using technologies most appropriate to personal strengths and interests, providing students with the building blocks to create two successful compositions, one written to a brief and the other a free composition. Both compositions are assessed on the student’s ability to demonstrate: ✓ Creative and effective selection and use of musical elements ✓ Appropriate selection and use of musical elements (to the compositional intention) ✓ Technical and expressive control in the use of musical elements Each composition must demonstrate a selection and use of least four types of musical element as follows: ✓ At least two of rhythm, metre, texture, melody, structure, form ✓ At least two of harmony, tonality, timbre, dynamics, phrasing, articulation The students further develop their understanding of these elements through the four areas of study: Western classical tradition 1650-1910, Popular music, Traditional Music, and Western classical tradition from 1910. The course is split into 3 units. ✓ Performance as an instrumentalist and/or vocalist and/or via technology ✓ Composition ✓ Understanding Music Assessment

The weighting for the course is as follows: ✓ Composing and Performing coursework (60%) ✓ Understanding music listening examination (40%) KS4 Music – Year 10 Overview Students will develop their musical understanding through schemes of work which integrate the disciplines of listening and appraising, performing and composing. The four areas of study have a strong focus on understanding the musical elements. During terms 1 and 2, there is a particular emphasis on learning which aims to teach students that many of the musical elements are universal and can be applied to all genres and styles of music outlined in the AQA specification which are: ✓ Area of Study 1: Western Classical Tradition 1650-1910 ✓ Area of Study 2: Popular Music ✓ Area of Study 3: Traditional Music Area of Study ✓ Area of Study 4: Western Classical Tradition since 1910 In HT1/2, students will explore an array of musical styles (AOS1-4) in relation to the integration of listening and appraising, performing, composing and the use of technology as appropriate to individual tasks undertaken. This will all have a particular focus on ‘Riffs, Ostinati and Loops’ but also furcate from this where appropriate to fulfil the specification in relation to individual learning needs. Students are constantly encouraged to perform and make music best suited to their strengths, interests and wider understanding (enculturation). For example, as they are taught a range of compositional techniques in order to equip them with the knowledge and skills to complete their two final individual compositions (NEA), they will use the technology which will allow them most success (Sibelius, Bandlab, DAWs etc).

Subject: Music Year 10 Curriculum Overview 2024-2025 “Let the questions be the curriculum” Socrates Knowledge & Understanding Literacy Skills Literacy Skills and KEY vocab Assessment What is being assessed? Homework/ Independent Learning Composites Components includes understanding of KEY concepts Formal Retrieval if any HT1 + HT2 Topic: Musical Rudiments, Riffs, Ostinati & Loops - AOS Link AOS3 Blues Music AOS2 Music of Broadway (Little Shop of Horrors) AOS2 Rock Music of the 1960s/70s and Pop Music (1990s to present day) AOS3 Fusion Music incorporating Caribbean Music AOS4 Minimalist Music AOS2 Film Music AOS1 Baroque Music and Orchestral Music of Haydn, Mozart and Beethoven Musical Elements Rhythm (Duration) Structure ✓ Students will study a range of pieces across the four Areas of Study with a particular focus on the musical elements which link them, as well as make them different. ✓ There will be several short composition and improvisation tasks linked to each style/genre to teach students a range of techniques for future independent music making. ✓ Students will also learn the basics of that style or period – e.g., musical structures, instruments, the context the music was originally created in etc. They will also learn appropriate notations, signs, symbols and vocabulary, in order to develop their all-Rhythmic Dictation Texture Recognition (aural) Orchestral Instrumentation Recognition Melodic Dictation Italian Tempo Recognition Chord Functions using Roman Numerals I, IV & V Ornamentation recognition Ascending Descending Conjunct Disjunct Scalic Chromatic Diatonic Pentatonic Triadic Arpeggio Riff Hook Ostinato Repetition Inversion Augmentation Diminution Retrograde Imitation Sequence Articulation Pitch Bend Melisma Glissando Blue Notes Motif Passing Notes Auxiliary Notes Ornamentation Phrasing Octaves Unison Assessment point 1+2 1. One solo performance of student’s own choice (marked using GCSE Marking Criteria) 2. A range of short composition tasks which develop compositional techniques in response to a ‘brief’ (using appropriate technology) 3. GCSE-style questions to assess Listening and Understanding across various AOS in the AQA specification What comes next? Deepening melodic understanding by looking at how various musical styles incorporate and Iterative Development: Students are encouraged to practice (chosen instrument / voice) in preparation for solo and ensemble performances (NEA). Music Theory Apps: Complete some games using FoS that cover concepts included in this scheme of learning.

Texture Melody Pitch Harmony Instrumentation (sonority) Dynamics round musical understanding. ✓ Alongside this integrated study in the classroom (and for homework), it is expected that students will complete regular practice on their chosen instrument and attend their specialist lessons, as well as participate in extra-curricular activities. ✓ There will be a particular focus on ‘solo performance’ in lessons during HT1/2. Students will be encouraged to work on a solo performance which will form part of their performance NEA during Y11. They will eventually be assessed on four areas related to the performance which include demand, accuracy, fluency, control and expression Monophonic Homophonic Melody & Accompaniment Polyphonic Heterophonic Contrapuntal Imitation Antiphonal A cappella Layered Pianissimo Piano Mezzo Piano Mezzo Forte Forte Fortissimo Crescendo Diminuendo Fortepiano Sforzando Dynamic Contrast melody, sequence and melodic features/devices HT1 & 2 Key Questions: “How do different time signatures affect the feel and structure of a piece of music? What role does pitch play in creating melody and harmony within a composition? How do riffs contribute to the identity and memorability of a piece of music? What are the characteristics of an effective riff, and how can it be developed throughout a piece? How do ostinati provide a foundation or drive for a musical piece? In what ways can ostinati be varied to maintain listener interest while still providing continuity? How can loops be used to create texture and build complexity in a composition? What techniques can be employed to ensure that loops enhance rather than overwhelm a piece of music?” CIAG Students will consider the following questions: What are the various career paths available in the music industry (e.g., performer, composer, producer) What educational qualifications are typically required for different music careers? How can apprenticeships and volunteer work help in building a career in music?

What are the benefits of joining music industry associations or organisations? How important is networking in the music industry, and how can you effectively build a network? What are some emerging careers in the music industry due to technological advancements? How can one stay informed about job openings and opportunities in the music industry? What is the role of a music manager, and how can they assist in a musician’s career? What are the typical job responsibilities of a sound engineer? How do you become a music therapist, and what skills are essential for this career? HT3 Topic: Melody, Sequence & Melodic Features/Devices – AOS Link AOS2 – Vocal Melody and Sequence in Pop AOS2 – Melody and Sequence in Musicals (particular focus on ‘Little Shop of Horrors’ – set work) AOS4 – Melody and Sequence in works by Malcolm Arnold and Peter Maxwell-Davies AOS3 – Cuban Music (including a focus on ‘Salsa’ and Latin American Music, and Santana) AOS1 – Sequence in piano music (solo piano pieces by Schumann) Musical Elements ✓ Again, students will develop their musical understanding through an integrated approach of listening, appraising, composing and performing. ✓ There will be a range of composing and performing activities linked to pieces which are taken from different areas of study. ✓ In this way, students will continue to appreciate the links between different styles/genres of music, as well as the differences. ✓ Focus on how the different elements of music are employed will continue to be a central part of learning, as will the Rhythmic Dictation Treble Clef Pitch Recognition Time Signature Recognition (aural) Melodic Device Recognition Bass Clef Reading Treble Clef Reading Melodic Interval Recognition Ascending Descending Conjunct Disjunct Scalic Chromatic Diatonic Pentatonic Triadic Arpeggio Riff Hook Ostinato Repetition Inversion Augmentation Diminution Retrograde Imitation Sequence Articulation Pitch Bend Melisma Glissando Blue Notes Motif Passing Notes Auxiliary Notes Ornamentation Phrasing Tempo Largo Assessment point 3 1. GCSE style listening questions 2. Short composition tasks that link to Y11 NEA 1. One solo performance of student’s own choice (marked using GCSE Marking Criteria) What comes next? Deepening stylistic understanding by looking at Baroque, Classical and Romantic periods and the typical musical features within these styles Iterative Development: Students are encouraged to practice (chosen instrument / voice) in preparation for solo and ensemble performances (NEA). Music Theory Apps: Complete some games using FoS that cover concepts included in this scheme of learning.

Rhythm (Duration) Structure Texture Melody Pitch Harmony Instrumentation (sonority) Dynamics development of vocabulary and theory ✓ This will allow students to more accurately describe and understand music in preparation for Y11 NEA and the final listening examination. ✓ There will be a particular focus on ‘melody and sequence’ across the areas of study Moderato Andante Allegro Presto Metre Simple Time Compound Time Syncopation Augmentation Diminution Triplets Dotted Rhythm Hemiola Anacrusis Cross Rhythm Polyrhythm Shuffle Beat Swing Rhythm Irregular, free Regular BPM Backbeat Rubato Pulse Bossa Nova Tango Salsa HT3 Key Questions: “What are the key characteristics that define a memorable and effective melody? How does the contour (shape) of a melody influence the emotional impact of a piece of music? How do sequences function in the development of a musical idea within a composition? What are some common types of sequences, and how do they differ in their musical effect? How do elements such as intervals, motifs, and phrasing contribute to the overall character of a melody? In what ways can composers use contrast and repetition in melodic lines to create interest and structure? What are some common melodic devices (e.g., ornamentation, inversion, retrograde), and how do they enhance a composition? How can modulation and key changes be effectively used to develop and transform a melody?”

HT4 Topic: Journey through the Baroque, Classical & Romantic Periods – AOS Link AOS1 – The Oratorios of Handel AOS1 – The Orchestral Music of Haydn, Mozart and Beethoven AOS1 – Contemporary / Orchestral Film Music Musical Elements Rhythm (Duration) Structure Texture Melody Pitch Harmony Instrumentation (sonority) Dynamics As with all other learning, this takes place in an integrated way. ✓ In this unit, students will learn about the features and development of Western Classical Music between 1650–1910. This will focus in particular on: ✓ Development of the orchestra – ✓ Development and importance of the piano in the Classical and Romantic periods ✓ The Baroque Oratorio (focus: ‘The Messiah’) ✓ Orchestral Works of Haydn, Mozart and Beethoven (particular focus on symphonies and various concertos) - Sonata and rondo form ✓ Orchestral film works of Willams, Zimmer & Newton Instrument Recognition (aural) Cadence Recognition Texture Recognition (aural) Melodic Device Recognition Bass Clef Reading Treble Clef Reading Melodic Interval Recognition Rhythmic Dictation Instrumentation Brass Percussion Woodwind String Vocal Ensembles Con Sord Senza Sord Pizzicato Arco Double Stopping Tremolo Flam Fill Improvisation Extemporation Palm Mute Pitch Bend Hammer-on Slap Bass Falsetto Melisma Rap Scat Singing Amplification Distortion Mixing Reverb Binary Ternary Rondo Sonata Strophic Theme & Variation Arch-shape Ground Bass Continuo Cadenza Assessment point 4 1. GCSE style listening questions 2. Classical period-influenced compositional tasks 3. Solo performance preparation for Y11 NEA What comes next? Deepening cultural and technical understanding by looking at the voice, vocal works, vocal techniques and vocal styles Iterative Development: Students are encouraged to practice (chosen instrument / voice) in preparation for solo and ensemble performances (NEA). Music Theory Apps: Complete some games using FoS that cover concepts included in this scheme of learning.

HT4 Key Questions: “What are the defining characteristics of Baroque music in terms of rhythm, harmony, and texture? How did the use of ornamentation and improvisation shape the performance practices of Baroque music? What are the main differences between the musical forms used in the Classical period (e.g., sonata form, symphony) and those of the Baroque period? How did the development of the orchestra influence the compositions and styles of Classical music? What role did emotion and expression play in the music of the Romantic period, and how is this reflected in its compositions? How did the expansion of harmonic language and chromaticism distinguish Romantic music from Classical music? How did the role and perception of composers and musicians change from the Baroque to the Romantic periods? In what ways did the socio-political and cultural contexts of the Baroque, Classical, and Romantic periods influence the music that was composed during these times?” CIAG Students will consider the following questions: How important is communication in the music industry, and how can you improve your communication skills? What leadership skills are beneficial for a career in music, and how can they be developed? How can time management skills impact a musician's career, and what strategies can help improve these skills? What role does teamwork play in the music industry, and how can you become an effective team player? How can problem-solving skills benefit a musician or music professional? What are the benefits of critical thinking in music careers, and how can you develop this skill? How does creativity contribute to success in the music industry, and how can you foster your creative skills? Why is adaptability important in the music industry, and how can you become more adaptable? How can you develop strong networking and relationship-building skills? How can emotional intelligence enhance your interactions and collaborations in the music industry? HT5 Topic: Exploring the voice, vocal works & vocal styles – AOS Link AOS1 – Coronation Anthems of Handel AOS3 – Celtic Folk Music (English, Scottish and Irish) – Contemporary Folk Music of the British Isles ✓ This unit explores the voice in a range of different times, contexts, genres and styles. ✓ In order for students to clearly appreciate links between different periods, genres and styles. The listening, composing and performing activities are integrated within the areas of study for additional clarity. Traditional Instrument Recognition (aural) Boxplot GCSE Style question Voice recognition Vocal technique recognition Instrument Recognition (aural) Cadence Recognition Instrumentation Brass Percussion Woodwind String Vocal Tremolo Flam Fill Improvisation Falsetto Melisma Rap Scat Singing Voice Painting Phrasing Assessment point 5 1. GCSE Listening Questions 2. Composition – a word setting (which could be extended to a complete song – either a cappella or with instrumental accompaniment) 3. Solo performance preparation for Y11 NEA Iterative Development: Students are encouraged to practice (chosen instrument / voice) in preparation for solo and ensemble performances (NEA). Music Theory Apps: Complete some games

AOS1 – The Requiem of the late Romantic period Musical Elements Rhythm (Duration) Structure Texture Melody Pitch Harmony Instrumentation (sonority) Dynamics ✓ Students will look at various voice types, folk instrumentation and exigent elements related to vocal music. They will also look at vocal techniques and voice painting. Texture Recognition (aural) Octaves Unison Monophonic Homophonic Melody & Accompaniment Polyphonic Heterophonic Contrapuntal Imitation Antiphonal A cappella Layered What comes next? Students will start to look at the first compulsory set work (AOS1) which is Mozart’s 1791 Clarinet Concerto, 3rd Movement – Rondo. using FoS that cover concepts included in this scheme of learning. HT5 Key Questions: “How do different forms of vocal works (e.g., opera, oratorio, art song) differ in structure and purpose? What are the key elements that make a vocal work effective in conveying its text and emotion? What are the main classifications of voice types (e.g., soprano, alto, tenor, bass), and how do their ranges and timbres differ? How can understanding the capabilities and limitations of different voice types influence the composition and arrangement of vocal music? What are the distinguishing features of various vocal styles (e.g., classical, jazz, pop, musical theatre), and how do they differ in technique and expression? How do cultural and historical contexts influence the development and characteristics of different vocal styles? How do composers and performers use vocal techniques (e.g., vibrato, falsetto, belting) to enhance the expression and impact of a vocal performance? What role do lyrics play in shaping the musical and emotional content of a vocal work, and how do different styles approach the setting of text to music?” HT6 Topic: Mozart Clarinet Concerto, Independent Composing / Performing – AOS Link AOS1 – Western Classical Music from 1650-1910 (set work: Mozart Clarinet Concerto in A major) Students will study the set work ‘Mozart’s Clarinet Concerto in A major’ in depth looking at: ✓ Performance Activities ✓ Contextual/Musical Analysis ✓ Practice Questions Students will also undertake an Instrument Recognition (aural) EPIC Answers for Set Works DR SMITH Analysis Texture Recognition (aural) Tonality Major Minor Atonal Modal Pentatonic Chromatic Diatonic Cadences Intervals Pedal Note Drone Assessment point 6 1. End of Year 10 Listening/Musical Understanding Examination 2. Independent composition (marked in line with GCSE criteria) 3. GCSE style questions Iterative Development: Students are encouraged to practice (chosen instrument / voice) in preparation for solo and ensemble performances (NEA).

Musical Elements Rhythm (Duration) Structure Texture Melody Pitch Harmony Instrumentation (sonority) Dynamics independent ‘free choice composition’ in line with AQA guidelines as a ‘practice run’ for their first major composition at the start of year 11. They should use appropriate technology as appropriate – or can create a technology based/live performance recording. Ongoing performing practice – solo and ensemble. There will be particular emphasis on ensemble performance with a view to students choosing an appropriate piece for practice over the summer holidays, ready for the October performance/recording (NEA). Melodic Dictation Cadence Recognition Texture Recognition (aural) Melodic Device Recognition Bass Clef Reading Modulation Dissonance Consonance Ascending Descending Conjunct Disjunct Scalic Chromatic Diatonic Pentatonic Triadic Arpeggio Riff Hook Ostinato Repetition Inversion Augmentation Diminution Ensembles Con Sord Senza Sord Pizzicato on the Mozart Clarinet Concerto using DR SMITH analysis & EPIC template END OF Y10 CURRICULUM Music Theory Apps: Complete some games using FoS that cover concepts included in this scheme of learning. HT6 Key Questions: “What are the distinctive features of Mozart’s compositional style in different genres (e.g., symphonies, operas, chamber music)? How did Mozart’s use of melody, harmony, and form contribute to the lasting appeal of his music? How did Mozart’s work influence the music of his contemporaries and later composers? What are the key elements to consider when starting to compose a piece of music (e.g., theme, structure, instrumentation)? How can studying the works of composers like Mozart help in developing one's own compositional techniques and style? What are the essential skills and techniques required for performing Mozart’s music effectively? How can a performer interpret and convey the nuances and emotions in Mozart’s compositions to an audience? How does the complexity and structure of Mozart’s music challenge both the composer and the performer? What are the specific challenges in performing different types of Mozart’s works (e.g., solo pieces vs. ensemble pieces, instrumental vs. vocal works)?” CIAG Students will consider the following: What are the essential skills for a successful career in music performance? How can you improve your sight-reading abilities for professional opportunities? What are the key techniques for effective music composition? How can you develop strong improvisation skills for different music genres?

Summer Holiday Learning ✓ Preparation for the first ‘Free Choice Composition’ ✓ Ongoing individual practice on the student’s chosen instrument/voice which will help with Y11 NEA ✓ Listening and study - any topics within the four areas of study not covered during year 10 using online access to Focus on Sound (below) ✓ Consolidation of particular topics/areas which require further attention in preparation for a strong start to year 11 What are the benefits of learning multiple instruments for a music career? How can you enhance your aural skills and why are they important for musicians? What are the best practices for maintaining vocal health and improving vocal techniques? How can understanding music theory benefit your career in music? What are the fundamental skills required for music production? How can you develop proficiency in using music software and technology?

KS4 Music – Year 11 Overview Most of the content of the areas of study is covered during year 10, but the final topics will be completed during the Autumn term of year 11. There will also be fortnightly ‘Musical Understanding/Listening’ practice assessments based on the four areas of study and the set works. However, most emphasis is now placed on students working independently to produce their final two compositions (the first of which is ‘free choice’ and the second ‘to a brief set by AQA’). All final NEA deadlines are in year 11 as they must be completed during the year of certification. This means that there is a lot of work to complete on NEA to ensure the highest individual standards – sometimes after-school intervention/support will be required. Students will also be encouraged to choose pieces for their solo and ensemble performances early in year 11 and will be expected to prepare and record an ‘ensemble performance’ in October. This will be marked against GCSE criteria. Ongoing practice will be essential during term HT1/2 to prepare for final performances and recordings during the Spring term. Attendance at lessons with their specialist teachers will continue to be very important during this time. Additional support and practice will be available in school during breaks and after-school.

Subject: Music Year 11 Curriculum Overview 2024-2025 “Let the questions be the curriculum” Socrates Knowledge & Understanding Literacy Skills Literacy Skills and KEY vocab Assessment What is being assessed? Homework/ Independent Learning Composites Components includes understanding of KEY concepts Formal Retrieval if any HT1 + HT2 Musical Elements Rhythm (Duration) Structure Texture Melody Pitch Harmony Instrumentation (sonority) Dynamics Composition: ✓ Independent Composition (first final composition – free choice); complete piece, score and recording (as appropriate). Performance: ✓ Ongoing regular, individual practice, and the selection and rehearsal of ‘ensemble performance’. ✓ This must be recorded by deadline date in October for assessment. Musical Understanding/Listening: ✓ Focus: Set Work – 3 songs from ‘Little Shop of Horrors’ ✓ Completion of any outstanding styles/genres not covered so far. ✓ Consolidation of knowledge relating to set works (practice questions) ✓ Revision of any ‘weaker areas’ as shown up in the Y10 summer examination Rhythmic Dictation Texture Recognition (aural) Orchestral Instrumentation Recognition Set Work Terminology (LSOH) Italian Tempo Recognition Chord Functions using Roman Numerals I, IV & V Ornamentation recognition Ascending Descending Conjunct Disjunct Scalic Chromatic Diatonic Pentatonic Triadic Arpeggio Riff Hook Ostinato Repetition Inversion Augmentation Diminution Retrograde Imitation Sequence Articulation Pitch Bend Melisma Glissando Blue Notes Motif Passing Notes Auxiliary Notes Ornamentation Phrasing Octaves Unison Monophonic Assessment point 1+2 1. One solo/ensemble performance of student’s own choice (marked using GCSE Marking Criteria) October deadline. 2. Start the ‘free composition’ and complete for the December deadline. 3. GCSE-style questions to assess Listening and Understanding across various AOS in the AQA specification (fortnightly). June 2025 Examination. Iterative Development: Students are encouraged to practice (chosen instrument / voice) in preparation for solo and ensemble performances (NEA). Music Theory Apps: Complete some games using FoS that cover concepts included in this scheme of learning.

✓ Fortnightly short listening assessments – focussed revision and topics (covering all four areas of study and set works throughout HT1/2) Homophonic Melody & Accompaniment Polyphonic Heterophonic Contrapuntal Imitation Antiphonal A cappella Layered Pianissimo Piano Mezzo Piano Mezzo Forte Forte Fortissimo Crescendo Diminuendo Fortepiano Sforzando Dynamic Contrast HT1 & 2 Key Questions: “Have I chosen pieces that showcase my strengths and meet the exam criteria? Have I mastered the technical aspects of my pieces, such as dynamics, articulation, and phrasing? How well do I convey the emotion and style of the pieces I'm performing? Is my practice routine effective and consistent? Have I memorised my pieces thoroughly, if required? Have I practiced with an accompanist (if needed) and are we in sync? How do I manage performance anxiety and ensure I perform confidently? Have I sought feedback from teachers and peers to improve my performance? What themes or ideas do I want to explore in my composition? Have I planned a clear structure for my composition (e.g., ABA, sonata form)? Is my melody memorable and well-developed?” CIAG Students will consider the following: What subjects do I enjoy and excel in? How do these align with potential college courses or career paths? What are the entry requirements for the courses I’m interested in? Do I meet or can I achieve these requirements? What is the reputation of the colleges I am considering for my chosen course? Do they have strong programs and support services? What is my preferred learning style (e.g., hands-on, theoretical)? Do the colleges and courses I’m considering cater to this style? What extracurricular activities and opportunities for personal development do the colleges offer?

HT3 + HT4 Musical Elements Rhythm (Duration) Structure Texture Melody Pitch Harmony Instrumentation (sonority) Dynamics Composition: ✓ Final ‘polishing’ of Composition 1, and the writing of programme notes. Deadline mid-January 2025 ✓ Students will also be given the list of AQA composition briefs so that they can prepare for their second composition before the end of HT3. ✓ ‘Composition to a brief’ and programme notes – deadline just before Easter holiday Performance: ✓ Ongoing and regular practice – individually and with others. Focus on preparing for final solo and ensemble recordings in March 2025 ✓ Ongoing practice for final solo and ensemble performances. Students will be encouraged to arrange recording times/dates at any times that are most appropriate for them (during Y11) but there will be formal recording dates/times set in March for any outstanding performance recordings. Rhythmic Dictation Treble Clef Pitch Recognition Time Signature Recognition (aural) Melodic Device Recognition Bass Clef Reading Treble Clef Reading Melodic Interval Recognition Ascending Descending Conjunct Disjunct Scalic Chromatic Diatonic Pentatonic Triadic Arpeggio Riff Hook Ostinato Repetition Inversion Augmentation Diminution Retrograde Imitation Sequence Articulation Pitch Bend Melisma Glissando Blue Notes Motif Passing Notes Auxiliary Notes Ornamentation Phrasing Tempo Largo Moderato Andante Allegro Presto Metre Simple Time Compound Time Syncopation Augmentation Diminution Assessment point 3+4 1. Solo/ensemble performance of student’s own choice (marked using GCSE Marking Criteria) March 2025 deadline. 2. ‘Free Composition’ to be complete for the January 2025 deadline. 3. Composition to an externally set brief to be completed for the April 2025 deadline. 4. GCSE-style questions to assess Listening and Understanding across various AOS in the AQA specification (fortnightly). June 2025 Examination. 5. Mock examination TT to be followed with additional examination in February 2025. Iterative Development: Students are encouraged to practice (chosen instrument / voice) in preparation for solo and ensemble performances (NEA). Music Theory Apps: Complete some games using FoS that cover concepts included in this scheme of learning. Revision: Complete revision exercises in preparation for aural examination and set work analysis / essay questions.

Musical Understanding/Listening: ✓ Fortnightly short listening assessments – focussed revision and topics (covering all four areas of study and set works throughout term 1) ✓ Revision and preparation for a complete GCSE Listening Paper. February 2025 ✓ In early February – detailed feedback from marked examination ✓ Ongoing short listening assessments – focussed revision and topics (covering all four areas of study and set works) – increasing in number after composition and performance coursework has been completed. Students will be encouraged to attend support/intervention sessions, as appropriate, during breaks and/or after-school during this term. Resources/equipment will be available for year 11 students at these times should anyone request access (e.g., music technology, practice rooms, independent revision with others or individually). Students will be encouraged to come into the department to work and practise as much as possible – or just for some enjoyable relief! Triplets Dotted Rhythm Hemiola Anacrusis Cross Rhythm Polyrhythm Shuffle Beat Swing Rhythm Irregular, free Regular BPM Backbeat Rubato Pulse Bossa Nova Tango Instrumentation Brass Percussion Woodwind String Vocal Ensembles Con Sord Senza Sord Pizzicato Arco Double Stopping Tremolo Flam Fill Improvisation Extemporation Palm Mute Pitch Bend Hammer-on Slap Bass Falsetto Melisma Rap Scat Singing

Revision Sessions: ✓ Will be run as part of the whole-school subject revision timetable after all coursework has been completed, and, as appropriate. ✓ Students will also be encouraged to use ‘Focus on Sound’ and various other useful websites as part of their ongoing revision of topics and set works. Amplification Distortion Mixing Reverb Binary Ternary Rondo Sonata Strophic Theme & Variation Arch-shape Ground Bass Continuo Cadenza HT3 & 4 Key Questions: “Can I accurately identify and sing intervals? Can I recognise and identify different chord types and progressions? Am I able to clap back or notate complex rhythms? Can I transcribe melodies accurately by ear? Can I identify and notate harmonic progressions by ear? Am I able to describe and distinguish different textures and timbres in music? Can I identify the form and structure of a piece of music by listening? Can I recognise and describe different genres and styles of music? Am I able to discern and articulate the use of dynamics, articulation, and expression in music? Can I critically analyse and compare different performances and compositions?” CIAG Students will consider the following: Does the college have strong connections with industries or employers related to my field of interest? How can I start building a professional network in my chosen field? Are there industry events, workshops, or online communities I can join? Do I have the necessary skills to search for jobs effectively, such as writing a CV, preparing for interviews, and using job search platforms? Am I open to exploring different but related career paths if my initial choice doesn’t work out? How can I stay motivated through challenges? Am I prepared to adapt to new environments and experiences at college and in future jobs?

Useful Web Links for Revision Students have access to their own personal Focus on Sound account for access to listening clips, contextual and theoretical understanding: https://www.musicfirst.co.uk/app/ www.bbc.co.uk/bitesize/examspecs/zfwv7nb www.youtube.com www.aqa.co.uk/music www.classicfm.com www.musictheory.net HT5 Musical Elements Rhythm (Duration) Structure Texture Melody Pitch Harmony Instrumentation (sonority) Dynamics Ongoing practice questions and revision in preparation for the final ‘Musical Understanding/Listening’ examination in June 2025 Rhythmic Dictation Treble Clef Pitch Recognition Time Signature Recognition (aural) Melodic Device Recognition Melodic Dictation Treble Clef Reading Melodic Interval Recognition Please see Y11 endpoints (below) Assessment point 5 Students will be given a series of mock examination papers to look over prior to the June examination. They will also have access to revision materials and an online platform (Focus on Sound) for focus on aural skills. Revision: Complete revision exercises in preparation for aural examination and set work analysis / essay questions. HT6 END OF Y11 CURRICULUM

AQA GCSE Music – Year 11 Endpoints Melody TEXTURE Harmony Rhythm Structure Sonority Dynamics When talking about melody, try and focus on the melodic parts of the music. How are they moving? When talking about texture, focus on how lines and layers interact. What texture type is being used? When talking about harmony, try and focus on harmonic parts of the music. How are parts blended together? When talking about rhythm, try and focus on how the music is moving. What is the rhythmic feel of the music? When talking about structure, think about how the music is put together. What structure is being used? When talking about sonority, think about how instruments are being used. What instrumental techniques can you hear? When talking about dynamics, think about the volume of the music. Does the volume of the music change? Ascending Descending Conjunct Disjunct Scalic Chromatic Diatonic Pentatonic Triadic Arpeggio Riff Hook Ostinato Repetition Inversion Augmentation Diminution Retrograde Imitation Sequence Articulation Pitch Bend Melisma Glissando Blue Notes Motif Passing Notes Auxiliary Notes Ornamentation Phrasing Octaves Unison Monophonic Homophonic Melody & Accompaniment Polyphonic Heterophonic Contrapuntal Imitation Antiphonal A cappella Layered Tonality Major Minor Atonal Modal Pentatonic Chromatic Diatonic Cadences Intervals Pedal Note Drone Modulation Dissonance Consonance Blues Scale 7th Chord Triad Tierce Di Picardie Power Chords Scale Degree Tonic Supertonic Mediant Subdominant Dominant Submediant Leading Note Octave Chord Progressions Tempo Largo Moderato Andante Allegro Presto Metre Simple Time Compound Time Syncopation Augmentation Diminution Triplets Dotted Rhythm Hemiola Anacrusis Cross Rhythm Polyrhythm Shuffle Beat Swing Rhythm Irregular, free Regular BPM Backbeat Rubato Pulse Bossa Nova Tango Salsa Binary Ternary Rondo Sonata Strophic Theme & Variation Verse-chorus Arch-shape 12 Bar Blues Ground Bass Continuo Cadenza Instrumentation Brass Percussion Woodwind String Vocal Ensembles Con Sord Senza Sord Pizzicato Arco Double Stopping Tremolo Flam Fill Improvisation Extemporation Palm Mute Pitch Bend Hammer-on Slap Bass Falsetto Melisma Rap Scat Singing Amplification Distortion Mixing Reverb Echo Pianissimo Piano Mezzo Piano Mezzo Forte Forte Fortissimo Crescendo Diminuendo Fortepiano Sforzando Dynamic Contrast